Issue converting PMS to CMYK

I'm using Illustrator CS5 / Mac OS 10.6.8
Ihave a customer supplied file that has several placed grayscale .tif images in it. The images are colored with a spot PMS color. We are going to run the job CMYK. So I go into my swatches palette, select the spot color, and change it from Book Color to CMYK, and then from Spot Color to Process Color. When I do, the image turns black. If you click on it it still has the correct color applied to it. It's just black instead of the color it's supposed to be.
I've tried just clicking on the image, going to the color palette and converting it to CMYK there. Same result. I've tried changing it to a different color. It still stays black but when you click on it it says it's whatever color it's supposed to be.
I've also tried converting the color to LAB and RGB just to see if that made any difference. The grayscale still turns black.
Tried printing it, figuring it's just a weird display issue, but it prints black as well.
This only effects grayscale images. If I create a vector shape of the PMS color and then change the color to CMYK it works as it should.
I'm stumped. Never seen this before. Anyone have any ideas?

It is in CMYK mode. The blending mode is 100% and Normal. It was originally a CS5 document.
The color change is big. The color is PMS 583. I also tried copying the image and putting it into a brand new document. Same issue.
Here is a screen shot with the grasycale image with a spot PMS applied - it's the box with the "OUR NO LIST" in it.
Here it is when I change the color from PMS to CMYK:
Notice it's still selected, and the color applied to it says it's a CMYK color, but it's black.

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Convert PMS to CMYK

I have a problem of conversion of pantone to CMYK.
Before the CC 17.1.0 update, the conversion of pantone P206C (for example) gave it:
Now the conversion is no longer possible because I can't see anymore the small square logo CMYK but LAB logo and the conversion is wrong:
Does anyone also have this problem?
Thank you.
J'ai un problème de conversion de pantone en CMYK.
Avant la mise à jour CC 17.1.0, la conversion du pantone P206C (par exemple) donnait ça :
Maintenant la conversion n'est plus possible car il n'y a plus le petit logo de conversion CMYK mais LAB et la conversion est fausse :
Quelqu'un a-t-il aussi ce problème ?
Merci.

I used illustrator CS5.
And the library is PANTONE+ solid coated.
I can use my old file (made with CS5), it gives me right color and right conversion. But if I create a new file with CC 17.1.0, the color is awful and conversion incorrect.
Thanks for your help.

'Safest' way to convert PMS - CMYK

Hi, I'm wondering what the 'safest' or most reliable method is for converting PMS spot colors to CMYK when we might not know the end printer?
I was reading up on the difference in the conversion in InDesign (and Illustrator) when checking the "Use Standard Lab Values for Spots" box in the ink manager. So I understand how they come to different conclusions (sometimes pretty radically different) but don't really understand which is 'better'.
I know this is a bit of a subjective question, but would love to hear from folks who have experience here.
Most of the time, we are not aware of the printer who will end up printing a certain piece. And in the cases when we do actually know, I've found that the majority of the printers I've spoken to don't have a custom profile for their press (or don't know what that is) and usually tell me they calibrate their presses to SWOP standards or something.
For the current project, it's going to one of those large gang-printing shops (4by6). They state that they don't recommend using ICC profiles and that using a standard SWOP2 profile would give an approximation of their presses.
- So if all we know is 'use SWOP', and I have my document set to use US WebCoated SWOPv2, in general would using the LAB conversion give me a safer match or trusting the Pantone conversion?
(The numbers are very different, for instance our dark blue PMS 539C is either 100C, 49M, 0Y, 70k using the Pantone conversion, or 100C, 77M, 47Y, 51K using LAB conversion. Those are pretty radically different numbers and kind of make me nervous).
THANKS!!!

Jethro,
- And for the sake of understanding, if we're usually printing on uncoated stock but WITH a U/V coating, would coated PMS values be closer than uncoated in this scenario?
I do almost all coated stock, so I can't really answer that one. I suspect things will fall somewhere between uncoated and coated if using UV, but that is merely a guess.
But IN THEORY, would this be the order of preference for conversion?
1) Use the LAB conversion with accurate press profiles provided
2) Use Pantone Bridge PC conversion
3) Use the older Pantone CMYK conversion (default in InDesign and Illustrator)
My experience has led me to choose different methods depending on a number of variables. (Sorry, I know you are looking for a simple, easy answer that fits all scenarios).
If I was printing on uncoated stock with a low total ink limit of 240–260, I'd be inclined to stick with a solution that reduces total ink load. For dark colors, this means more black ink (heavy GCR). This will result in less color shifting on press, but may also have a tendency to have a little less vibrance than a light GCR. But, it definitely reduces ink load, which may be a big consideration, depending on your final paper, press, ink.
CMYK is widely known to be deficient in reproducing blues, and there can be a tendency to shift toward purple, so I am always cautious if there are important blues in the job or if they represent a large area. I will select the method that tends to err on the side of less magenta, rather than more.
Light Pastels are another tough challenge for CMYK, especially if printing on a dingy, uncoated stock that has any yellow bias. The only way to get those light pastels is to spread out the dots and make them small, so the paper exerts a big influence on color, saturation, etc.
Another factor that weighs into my decision is the commercial printer. If I don't know who will print the job, I tend to be very defensive, pick a middle of the road standard profile (I've been usning the IDEAlliance SWOP2006_Coated#3v2 profile for my coated work). The final press may be able to utilize 320, 340 or higher TIL, but if I prepare the file that way, and it heads to a 280 or 300 TIL press, I'll have a problem. I also strip out the profiles to prevent unwanted conversions and hope the printer comes close to SWOP G7. If I am working with a color managed printer that I know and trust, I get their profile and design the job around their press and specifications. In that case, I feel more confident pushing things a lot farther, knowing that my hard proofs will match theirs (from experience with that printer). I still err on the side of caution with blues. The Solid to Process uses way too much magenta in the blues to suit me, so I'd use the Color Bridge or Solid Coated books for blues. I also prefer to convert all my images to the final CMYK space in Photoshop instead of InDesign.
The easy answer…I'd probably use Color Bridge to select my colors, since it is the latest guide and seems better with blues (at least to my preference). If I had important colors I had to hit, I would do an accurate hard proof and make sure the colors are acceptably close.
Using Lab is fine, but which Lab value are you going to select? The Lab values from different swatch books are different.
One final thought—CMYK is unlike RGB, HSB, LAB and other tri-stimulus spaces. With three coordinates, there is only one way to define a given color (assuming you have nailed down your working space...sRGB, Adobe RGB, etc). With CMYK, you have four colors to work with, and can create the same color with many different combinations, and they may all print exactly the same.
Lou

Converting RGB to CMYK color

Hi All,
I have few BASIC Questions on converting RGB to CMYK in Photoshop and Illustrator. Hope could get some professional insights here.
1, Are all the DTG printers set only in CMYK color mode ?
2, If there is no difference after viewing RGB image with 'Gamaut Warning' (Photoshop), Does that mean I'll have the exact print result as monitor view ?
and Basically no need for CMYK conversion ?
3, Please list some the most effective way to convert RGB to CMYK, and keep the final CMYK color result as close as the RGB.
4, when I simply convert one RGB image to CMYK color, why Ps/AI don't allow me to save as PNG file ?
( I save the file as PDF, but I cannot edit this PDF using apple preview app )
5, compare Photoshop to Illustrator, which one result better final CMYK color image ?

Thanks for the detailed reply. Sure clear some of the doubts.
I just start to draw/design in Photoshop and illustrator, I save my files most as PNG, for a transparent background.
After I went to officework do the poster printing, I found the color of my print image are not as vivid as Mac preview.
To be precise, the poster I printed looks like has a very thin grey layer, it is not much noticeable, but it indeed lost some vivid color. As I want to print out my works and keep color as close exact as Mac preview, here is the issue of coverting RGB CMYK.
Please feel free to add for below:
1, Should I set color space in CMYK before drawing in PS/AI
2, in PS, I convert profile from PNG file to CMYK save as psd file, that psd file preview exactly same as PNG.
But when saved as PDF, the file preview a bit grey. Can someone explain this?
3, Now im thinking, since CMYK is all about printers, it really should be the profession in printing shop who shall check my image, and edit/convert to the right color space to fit their printers.

CS6: Converting PMS to Process for files to be printed 4 Color Process

As the owner of Ripe Inc, a brand design firm, this is proving to be a big problem for us. I've searched forums looking for a solution and read lots of discussions about how the PMS color palettes "simulate" on screen how the color will print on different substrates (glossy vs matte vs uncoated paper). That's great for comps, but if you convert it to CMYK to print it, and the values are representing a "simulated" color it won't look correct (by that I mean come close to matching the spot color). For example, the uncoated palette simulates the color by making them appear a bit washed out on screen - pretty good visual simulation. But it might do so by adding black and cyan to orange for example, etc. - effectively dulling the original color. So if I convert that to CMYK within the new Pantone + color palette, and then send it to the printer - it won't appear as it did on screen, it will dull the end color even more because it's converted the color to the dull simulated version - what a disaster! It's only doing half the job - showing us what it should look like on screen. In order to be truly efficient for design professionals the CMYK conversion might remove black and cyan completely to effectively brighten the color in the final output on uncoated paper. I would prefer it just stick to the standard conversion, which Pantone did have as a standard palette option (PMS to process), and then I can adjust if I think it's necessary.
Any corporate branding system will likely start with a PMS spot color palette for the identity. Then it will build into many different adaptations - full color brochures, large format banners and trade show graphics, website, advertising. So any corporate branding system will need to have PMS, CMYK and RGB versions of their main corporate color palette. There was a standard for these translations that was automatically consistent in the Adobe software and that is now all over the place, so it relies on individuals manually adapting the color mixes for final use - what a great way to screw things up. Please advise.

Not exactly. You're basicly talking about screen color generation which is hardly ever accurate and a typical desktop print scenario. When it comes to offset printing, the file should be built to whatever the print vendor requires. So, when you "communicate" with the print vendor, they can work with you on achieving the results you are looking to achieve. In your establishing the color for a brand identity guide, the Spot color is the main reference color, with Pantone's CMYK equivalents found in their Pantone Color Guides ( the printed version with conversion numbers for Coated, Uncoated, and Matte. You can realistically expect to minimalize deviates if you stick to those numbers, some which have not been reformulated for quite some time. In a professional workflow and a calibrated workflow, a RIP will be used via a proofer printer ( inkjet ) where the RIP converts the Spot color. In your case, you'd assign the Pantone 166 in the file which is sent to the RIP and then onto the print proofer. Someone off in la la land may get ahold of the file and do their own conversion and then send it off to their generic, non-postscript desktop office printer. Usually in that scenario, the print driver cannot deal with Spot color and the user is forced to convert to CMYK. The color swatch libraries found in Adobe applications can handle the conversion if the user is savvy enough to use the swatch system. Or, they can use your CMYK equivalents which you have assigned in your Branding Guide ( based on Pantone's printed color guide ). Pantone has made recent updates challenging to average users. You are being frustrated by those updates and are being led around by software application color conversion methods. In the case of RGB and hex code deviates, pantone has done a good job supplying you and everyone else with those numbers on their web site. I understand your frustration, but try to relax and settle with the 166 = 0C, 64M, 100Y, 0K conversion numbers. Also, it may not be necessary to include Uncoated equivalents because those will only deviate via whatever paper is used in whatever printer is being used. A 0C, 64M, 100Y,0K will print different on a coated glossy sheet than it would on a 20lb copier sheet with a different whiteness and different weight and different opaqueness, never mind different inkjets, laser printers, or color copiers. You cannot control those scenarios, so why pull your hair out on Color Bridge deviates? The only control you have is how you communicate the color in your Branding Guide, which should be the 166 / 0C, 64M, 100Y, 0K numbers. End it there. Those are industry standard color numbers that should hold up on any reasonably good output device.

Having troubles converting RGB to CMYK

@Hi guys
I having massive issues with converting my business logo form RGB to CMYK. I need to place this logo on my business card ready for printing. I created the logo in RGB format to start of with, but it keeps coming out darker and abit grayscaled
once the conversation is set. Can anyone help me out with this issue, and if so, can you also provide the steps in how to resolve this issue for future references. Im using Adobe Photoshop CS5 for this execise. I can also provide the actual image attached below as the second image,.

These bright pink and purple colours are obviously way out of gamut so they convert badly to CMYK. Exactly how they convert depends on what colour profile you are using
It will probably be best to either rework the design using mixtures of cyan and magenta only or else use mixtures of Pantone colours.
The Pantone solution will only work for offset printing but is no use for a home printer.
Read up on colour management like Mylenium says and learn to think in terms of inks rather than screen colours.

Persistent "Converting colors to CMYK" progress bar

There is a file I've been working on for a couple of weeks that I am all of a sudden having issues opening. I applied some effects to a photo within the document, and ever since then the program has been freezing up or having issues opening the file. It keeps on cycling through dozens of progress windows that say "Converting colors to CMYK". The progress bar loads in about 10 seconds before another one, exactly the same as the last, shows up. I've sat there and watched it cycle through like this for over 30 minutes on multiple occasions in the last 24 hours, just trying to be patient and see if it will ever load.
I have tried rebooting the computer, restarting the program, and downloading the latest updates. Nothing has made a difference. The file size is 26.6 MB with around 20 photos in it, and my computer isn't the fastest in the world, but this shouldn't take forever. Does anyone have any advice on this?
Thanks,
Zac
2010 MacBook Pro 13"
2.4 GHz Intel Core 2 Duo
8 GB 1067 MHz DDR3
NVIDIA GeForce 320M 256 MB

I don't know if this will work but try setting the scratch disk for Illustrator to the Seagate instead of the internal HD and see if you have better luck. With less than 20% of the HD available it is starting to become a problem. Have you ever resaved the file with a Save As and overwritten the original? If you have been changing the images without doing this there is likely a lot of old previews and such held in the hidden part of the file which will be cleared by doing this.

How do I convert an AI - CMYK file to an editable PSD - RGB file ?

Trying to design my online components from a AI CMYK poster for an event...but I'm getting terrible pixaltion when I drag and drop the different elements into PSD...so clearly its not converting.
Is there a way to convert the Illustrator - CMYK file into and editable PSD file in RGB?
Any help would be awesome.
Cheers
Kirby

Here is a bit more detail, posted in teh /r/graphicdesign on Reddit
"Not sure if this is the right sub but I'm wondering if anyone else has experienced pixilation when uploading banner images for event with Facebook?
I'm exported this image http://imgur.com/vWV5OnN but when posted to Facebook it comes out like thishttp://imgur.com/sbhz94e
Any ideas whats happening?"
I designed the main poster as CMYK in AI- CS6
Then dragged and dropped the layers into a new PSD - CS6 file.
Maybe they arent' web safe colours?

Converting Images to CMYK for Print Publication

When in my workflow should I be converting images to CMYK for print publication?
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Since many of my pictures have shades of green, I'm often disappointed with the conversion to CMYK because I lose saturation and brightness. Am I doing anything wrong? Is there a better way of preserving the quality of colour in my images when going to a commercial printer?

To see in InDesign what color shifts will occur, use View=>Proof Colors.
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Hello every one,
I have lot of files which needs to change in InDesign
1. PMS colors (if any) to CMYK
2. Exportas a specific color profile (GWG_GenericCMYK)
To do this I have file names, sizes information in excel sheet. Can I assume with scripts…?
New file sizes, name creation      will be using of excel sheet,
Save      the file (location I will choose manually sounds that script needs to      pause here)
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Can some one make my dream come true ...???
If anyone solve this situation it’s saves my towns of time. Please help me any tremendous scripter ….
I don’t have any knowledge in scripting... Please see for example excel sheet. sorry for image i tryed to upload excel file some error..!!!
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Best Regards,
Siva

Hello every one,
If whole process is not possible through script..? Please let me know some solutions, reference links, are any suggestions, Please help me any one..!!!
Regards,
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source code
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Hi,
I am having similar problems. I have read somewhere that png format can not handle CMYK colorspace anyway, which I find odd (and plainly stupid IM(NS)HO) which would mean that converting to RGB and therefore using profiles is mandatory.
May be you should check if the internal format of the png files claims it is RGB or CMYK (using ImageMagick's "identify" command for example).
HTH
JG

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